![]() During this period, he collaborated with artists like Antoni Tàpies, Victor Mira, Emil Schumacher, Rafa Forteza, Miquel Barceló, Jaume Plensa, and Riera i Aragó. In 1986, Sebi Subirós trained in printmaking at Tristan Barbarà Workshop in Figueres (Girona), where he went on to become part of the team, working as an engraver, printmaker and advisor for artists through to 1996. Japanese printing: monochrome, colour, with shade variation.įor this workshop, no previous knowledge of printmaking techniques is needed. ![]() Types of paper and preparing them for printing.Tools: gouges, knives, barens, sharpening stones. Traditional materials, the workbench, lighting, printing table etc. Critical observation of original 19th century Ukiyo-e from Lupusgràfic Edicions’ private collection.The differences between Oriental and Western methods. At the same time, it is also one of the printmaking techniques that gives artists the most contact and control over the materials. This means that artists do not have to work with toxic materials and no major equipment is needed. No roller press or other press is needed to print the woodcuts as this can be done by hand with a baren. This technique stands out for its use of water-based inks, allowing for the creation of transparencies and shade variation. Japanese woodcut techniques underwent their peak period from the 16th to the 19th centuries, although now they are making a big comeback in both the East and West.
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